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Critical Evaluation

This work is a critical evaluation of the progress done by me throughout the screen dance module. I try to provide a definition to what screen dance is, followed by the videos that have characteristics like my video The Tea Party. Quotes are used if they relate to the created work, thus helping to provide an understanding to how different quotes influenced myself as a screen dance producer.

Screen dance is a form of contemporary performance, taking the characteristics of a dance practice. It acts as a possible countermovement to the popular dance genre, exploring the potential for all movements, whether it be extending an arm across the space or moving the mouth in a desired motion, to be considered as dance. There is a stigma associated with the popular dance sphere, which expects dancers to move in a specific way, such as the pirouette of ballet or braceo of the flamenco. As such, development occurs to the fluidity of these movements, but sees defective movements as lacking elegance or unprofessional. When I mention “defective movements”, I imply movements that derive from failing to understand a coach/teacher, or rigid movements that look awkward onstage. Some examples of this are a plie performed without warming up first, which increases the risk of injury, or moving the arms in uncontrolled motions – something that looks unclear as to what the motive could be. Fortunately, instructors inform their students how to perform specific movements in the correct way, to prevent injuries and look aesthetically beautiful onstage at the same time. However, these movements may appear limited to the desires of a performer, who might want to create something aesthetically beautiful without resorting to strict techniques, thus discover alternate methods to create dance-like motions such as technology. This demonstrates the need for some subjects to choose contemporary performance over its popular counterpart, due to encouragement to discover new methods of creating performance and integration of other academia, for example IT. Overall, screen dance uses technology to create dance-like movements out of everyday actions, therefore demonstrating that all movements relate to dance in some way and allows the subject to critically evaluate their progress, similar to practicing a popular dance structure like tap dancing and planning what to do next.

Hansen describes screen dance as “the blurring of boundaries between live and virtual performance is perhaps, the latest succession in this evolution with the use of digital images in stage dance.” (Hansen, 1998) When I look back at the work  produced during the creation stage, I see moments where liveness of the performance blurs with how virtual it is, such as the performance taking place in several real-life locations but separated from each other using technology. There are multiple virtual spaces of the rooms I performed in captured on the camcorder, but there is no way for performers to transport themselves to the location of the performance at the same time and date, something that would require time travel to achieve, but possibilities exist with manipulating the space and time of a video with available technology and software, such as Final Cut Pro X. 

Elizabeth is a video submitted to the Screen Dance Collective on Vimeo, created by Tori Lawrence + Co. The main performer is a woman who appears in two locations, in the middle of a field and a bathroom of some sort, indicated by the metal bathtub. Her movements appear small and centred around a specific object, as seen in the field where she either lies in the wheat or manoeuvres around the fence. This relates to the Tea Party scene where I move my hands across the table to the camera, whilst pulling a shocked expression. There is also a scene where I drop water from a height into the bathtub, but the shot taken is a mid-shot, revealing most of the body above the bathtub. The bathtub scene in Elizabeth does a similar theme, revealing parts of the body above the bathtub, but not every part featured in the Tea Party appears in Elizabeth. This scene is also a close shot, in comparison with the Tea Party which is mid-shot. 

  During the creation process of my piece, I tried to experiment with different ways to move the body and produce abstract movements, whilst thinking how to develop a tea party theme. “While some artists deal with the content of screen media, others look to form. Pina Bausch’s live work employs filmic devices that manipulate speed, such as slow motion or the acceleration of events.” (Müller, 1998) I thought of the motions that occur in a tea party, for example the swirling of a finished cup of tea or pouring water into the cup. There were several locations that represented a tea cup, ranging from the bathtub to the Campus Centre corridors, where I lay on the floor and imitated water falling. The idea was to form screen media, having a focus on the abstract movements and characters, whilst the background changed from one to another through the acceleration and slowing of events. I did this to create “montage structures that are indebted to the fragmented character of editing.” (Rosiny, 1990a)

Aside from actually screening film, video and even computer-generated images in performance, representation of computer technologies clip into stage dance through less direct routes. Some dance practitioners have drawn on specific films as a starting point for choreographic ideas. (Dodds, 2001) This quote highlights what possible mediums contribute to screen dance, whether it be from a film, a handmade video or three-dimensional graphics that resemble dance. My screen dance project, The Tea Party, takes inspiration from the Alice in Wonderland series, but distorts the core themes into something creepier and more abstract. It features voices that overlap the video, either relating to self-consciousness or “dance”, the word that appears consistently through. This also relates to the idea of hearing voices and a narrow pool of interests, where the latter correlates to Asperger syndrome – something that relates to me as the performer. I am the main character(s) of The Tea Party, which is another aspect that relates to the comments mentioned above. 

The second video I looked at was After Kaprow – Book of Journeys by Rosemary Butcher. It, like Elizabeth, is a solo performance that features a woman. The performance focuses on positioning of the camera, which is an aspect of my performance, but also features small movements that relate to The Tea Party and Elizabeth. There are moments of slowness that relate to my piece, but centres around movements that appear separate from others, or have no correlation with them. I used this theme of separateness in the Tea Party. 

I found it difficult at first to create a screen dance piece using the camcorder provided, due to the large number of buttons that did different functions each. Final Cut Pro X was also a complicated program to understand at first, mainly because of necessary functions being hidden away in the program interface, followed by the naming convention for each of the functions. Fortunately, inserting video clips into the timeline was a simple step, as the button for importing media lied on the main interface, making it easy to locate and use effectively. This, coupled with the simplicity of dragging material in the timeline to another location, allowed me to produce my final screen dance project with ease, eliminating the stress I had in mind of having to remember the order of buttons I needed to press. Editing media within the timeline worked to my technological abilities, where moving the mouse left or right allowed me to cut or extend the duration of a certain clip, thus removing any errors made during the recording or editing process.

In addition to economic and political issues, technical and aesthetic constituents affect the images that we see on screen. For instance, certain technical criteria contribute to the type of images that can be made: the quality of film versus video tape; the big screen as opposed to the small screen; the viewing conditions of the movie theatre in contrast to the domestic space of the home, and the technical possibilities of the mechanical film apparatus in relation to the electronic (or digital) video camera. (Dodds, 2001)

The comment mentioned by Dodds above relates to my development of The Tea Party. I used the Voice Memo feature on an iPhone 8 to record sound samples for the project, positioned at random distances away from the object or body part I wanted to record. As such, some of the sound samples appear less clear than others and therefore required modification to improve their quality. I did some practice recordings before the main scenes were decided, which relied on the same phone to materialise. However, these were shots taken during my earlier years on the module, when I had no knowledge how to use the specified camcorder, therefore using the iPhone as a way of recording something with possible potential. It shows how my limited knowledge at the time affected the video quality negatively, due to my iPhone camera having a lower resolution than the camcorder required, thus producing scenes that were unworthy for the final project.

Ultimately, I understand the effort required for the execution of a “perfect” screen dance piece, due to the complications I suffered throughout the creation process, but nonetheless, I managed to solve the problems that arose with experimentation and taking a break where necessary. The overall creation was a screen dance piece that experimented with visuals, sound scaping, movement and alteration of time, but featured unedited pieces that allow the audience to view the performance from my point of view, including the problems I had recording the scenes to my liking. Overall, I felt that the screen dance module allowed me to experiment with new material and develop my knowledge, thus being one of my favourite modules this year.

AZRAK, F; BAHHI, R. (2014) Screendance Introduction [Weblog] SCREENDANCE. n.d. Available from:  https://screendanceblog.wordpress.com/introduction/ [Accessed 17/03/2019] (see Tumblr page) HANSEN, S. (1998) ‘Real Time Events’, Dance Theatre Journal. 14(3) pp. 13-15. KAPPENBURG, C. (2009) ‘Does screendance need to look like dance?’ International Journal of Performance Arts and Digital Media. 5(2-3) p.2 MÜLLER, H. (1984) ‘Expression in Dance.’ Dance Theatre Journal 2, 1, pp. 10-15 ROSINY, C. (1990a) ‘Pina Bausch “Lament of the Empress.”’ Ballett International. 6(7) p. 74 BARUA, O. (2019) What My Body Can/t Remember. [Online film] Available from: https://vimeo.com/groups/screendancecollective/videos/312520874 [Accessed 17/03/2019] (see Tumblr page) BUTCHER, R. (2012) After Kaprow – Book of Journeys. [Online film] Available from: https://vimeo.com/53838083 [Accessed 22/03/2019] SHIMOJIMA, C. (2017) “Do You Like Me Now?” LJOVA and ANATOMIAE OCCULTII. [Online film] Available from: https://vimeo.com/202096541 [Accessed 14/03/2019] (see Tumblr page) TORI LAWRENCE + CO. (2012) “Elizabeth” Trailer // a dance film. [Online film] Available from: https://vimeo.com/50460725 [Accessed 27/03/2019] WEBER, H. M. (2014) SCREENDANCE COLLECTIVE. [Online] Vimeo. Available from: https://vimeo.com/groups/screendancecollective [Accessed 19/02/2019]

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Finalisation of the Tea Party and Evernote, but not Tumblr (edited from the Evernote source)

The Tea Party has now reached the final editing stage, where I collected the final sample of sounds and voice clips from my phone, before exporting them to my Gmail account and transferring the sound clips to Final Cut Pro X. I am using the Pitch Correction tool located in FCPX, to ensure that each piece of audio sounds clear to the listener, but to also make the voice work appear professional and natural. There are clips at the start of this video that now have a monstrous sound effect added to them, provoking fear in the listener and making them question the nature of this tea party. As The Tea Party screen dance video is now completed, there is little more to do besides locating further research and updating Tumblr of course. I am new to the Tumblr scene, only getting familiar with it a few weeks ago. This is similar to the creation process for The Tea Party, starting off unfamiliar with the software and camcorder, before learning how to use these technologies with ease in a few weeks. I feel that this is a new journey for me, learning to use content sharing websites like Tumblr, now in the place of the camcorder and Final Cut Pro X. As such, the process of learning something new is endless, and I have learnt that throughout my time on the Screen Dance: Concept to Production module and in DMU.

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Is this the Evernote-Tumblr balancing act? (from the Evernote source)

Waiting for a fellow student to show up is an exhausting task. There is always the chance of them not showing up, or having to leave earlier than expected to complete something else. This is why I chose to do a solo screen dance piece, as the complications of people not showing up vanish, as there is no-one else to worry about. However, it does require me to show up to filming sessions; alongside have the commitment to produce sufficient work per day, whether it be brainstorming ideas for upcoming sessions or bodystorming. As I mentioned before, technology in the past posed a problem when it came to producing the work, due to limited knowledge on how to work the products, thus taking up valuable time available for the module. On the other hand, I still managed to produce a sophisticated amount of work, as time progressed and abilities of how certain software works improved. I decided to spend this day working on Creative Media and Performance, to equally distribute my workload between other modules. However, I started to notice similarities between the Screen Dance and Creative Media module, relating to depth and how the material appears. Discovering screen dance and what constitutes as such is a crucial aspect of the screen dance module, because it shows that the material needs to not look like popular dance, such as Coppelia and Swan Lake, but use technology to create motions that imitate dance movements. Creative Media, on the other hand, works on how we display and access the material. Virtual reality is an example of this, where viewers watch material through a headset that places them in an augmented version of reality, a fabricated world that resembles reality but blinds the viewer from the real world. Opportunities exist to create a screen dance piece that works on multiple dimensions - not just the idea of 2.5-dimensional dance projected onto a screen. This happens by allowing the audience to view the performance from multiple angles; either from behind the performer or above, perhaps from the left or right. Creative media and its potential allows viewers to feel within close proximity of the performer, due to multiple camera shots in virtual reality and manipulation of the sound, thus creating an atmosphere where the watcher appears in a different location. As such, there is a number of possibilities to create multidimensional screen dance.

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This video is After Kaprow - Book of Journeys by Rosemary Butcher. There are features of this performance that appear similar to those in the Tea Party. The sole performer is a female who finds ways to move across the space, but focusing on minimal movements and camera shots in different spaces. As such, the result is a screen dance piece that relies on the type of space to create an impact, indicated by the camera positioned at different distances from the performer and simplicity of the performer (they are wearing normal clothing, not designed for a certain theme). My performance has normal clothing like After Kaprow, taking place in several locations, but strongly focuses on the movement instead of the space. This makes the Tea Party similar to After Kaprow, but changes the focus to something else - the movement.

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Historical Requirements (from the Evernote source)

I have a collection of requirements for next week. The piece appears presentable in its current form, featuring sound clips that appear in random locations and footage taken in the house. However, there are areas that need polished off, such as the volume levels and doubling of certain clips. Little problems exist with the volume, in terms of clarity and word choice, but areas exist where the volume appears too loud, thus distorting the sound which comes out of a speaker. I need to see a sound technician about this issue, for further assistance on altering volume present in a sound clip. There is also a necessity for cross fades and fast cuts, something that I spoke about last week. I need to experiment with Final Cut X further, to locate these embedded functions for usage in my screen dance piece. As mentioned before, Final Cut Pro X is a complicated program to use - especially for beginners. Overall, what started off as a near-impossible task, to produce five to seven minutes of screen dance footage without technical knowledge, became a leisurely activity that I work on every week. During the time period between one session and another, there is a chance of new ideas coming up, therefore encouraging me to alter the video every week.

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This is a trailer for a dance piece called “Elizabeth.” The main character walks through a field of what appears to be wheat, using small motions of the hand to traverse a gate within the field. As this character puts their hand on the gate, it reminds me of the surprised guest scene, the one where my mouth is open, where my hands move across the table from one side to another. Elizabeth also features a transition between scenes, where one is a field and the other is a bathtub. The main performer also moves two boots across the floor, whilst the camera is close up on the boots. This is similar to the bathroom scene of The Tea Party, where I lift water from the bath below and carelessly let it drop. However, in Elizabeth, the performer moves these boots with more precision, withdrawing their hands slowly. The Tea Party has a close up and overhead shot of the bathtub where I performed, but Elizabeth films the side of the bathtub, where the camera is positioned low to the ground and filming the feet.

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Can you hear me?

The Tea Party started off as a mute piece, due to unwanted sounds captured in the recording process, thus giving the video clips an unprofessional appearance. As such, checking videos for any unwanted sound bursts is a good idea. Sound is something that adds mood to a piece and, coupled with appropriate movements, allows viewers to think of the video in different ways, including what the overall theme might be. Some people may find something that stands out from the piece, whether it be a specific theme or movement that looks intriguing. However, due to the diversity of individuals and their opinions, there are some aspects of a screen dance piece that appeal to others or "works for them", but others that feel out of place and look randomised. Intentional sound aspects may receive the same treatment, simply due to the statement above. Everyone has a different taste, whether it be certain movements lined up with a specific theme or music that corresponds with the movement.

When I added sound to the piece, I got recommendations to implement levels of sound, such as layering multiple sounds over each other. I wanted to experiment with soundwaves and see how their manipulation imitated popular dance music, parallel to the idea of how motion imitates dance-like movements or screen dance. The Tea Party had a soundscape that revolved around manmade sounds, where I tapped a table, my shoe and even a tooth to create varying sounds. It even features a monologue that gives the viewer an insight into what the piece is about. Music is a union of notes that appeal to the ear, but also consists of a rhythm and tones. My task was to overlap sounds to imitate the structure of a music piece, but create something that sounds realistic and investigates multiple dimensions. It experiments with how we hear and even see dance, as the programs used to create these composures have complex features, allowing the subject to move certain parts of the audio to different places, or altering the way in which the audio appears. Changing the volume is a simple example of this, whilst reversals and modifying the wavelengths appear as more complex. 

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Here is another video that focuses on hand movements. Despite the storyline having nothing to do with a tea party, the movements featured in this video contrasted my movements. My movements revolved around contact with various items, ranging from a wooden table to a tea cup. “Do you like me now?” is a performance that has faster movements, but there is also physical contact with other performers. As The Tea Party only features one performer, whose movements take place in a multitude of locations, interacting with available objects is the only form of physical contact. This is shown with the water and cup of tea, where I am either lifting the water up or spinning around with the tea cup. ‘Do you like me now?’ has love and cheating as its central theme, where performers make physical and eye contact with each other, supported by movements that appear elegant and romantic. The Tea Party, however, has movements that appear stiff or monstrous, for example the surprised guest scene. There is also a cluster of one motion movements, such as gasping or taking a step in any direction, whereas “Do you like me now?” has multiple motions linked to each other, and therefore resembles a dance. Mine, in comparison, looks like a broken down form of dance, where movements appear isolated from each other. I did this to create abstraction within my piece and explore what dance may be.

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Storyboard for The Tea Party

I managed to film a number of shots for the final product, which got transferred from the camcorder to a USB stick. As such, I needed to find an order in which to arrange the videos, to create a story that viewers find easy to follow and meet the module requirements. However, there were some shots that I needed to record again, mainly due to issues in quality and stiff motions. There was one clip that I removed from the performance entirely, as it added little to the storyline and looked odd overall. Fortunately, each video clip had a place in the timeline that flowed onto the next clip, thus allowing me to create a screen dance piece from scratch with little experience. Seeing how it was Final Cut Pro X as well, a complicated program for beginners, it shows how my efficiency in creating media has developed. I started off as a beginner, where I relied on other people to work with the technical side, whilst I took on a passive role and provided feedback where necessary. The Screen Dance module allowed me to see my potential with film editing, because I wanted to make a change for once and had no other alternative - there had to be a video! Now I can use Final Cut Pro with ease due to my experience throughout the module, which will now help with projects in the future. 

Here is an old miniature storyboard for The Tea Party, where the initial scene starts from the top and works its way down. The names shown highlight individual scenes with CharonX being the final, but since some scenes have been edited or deleted, this storyboard is now obsolete. However, the new one follows a similar model, having little difference from the storyboard shown below. As such, I felt that there was no need to produce another one, due to this one providing a precise idea.

StartDayX (Scene 1)

MagicCarpetX (Hand)

ObstructionX (Where are we going)

OctopusX (Scene 2)

ReverseRunX (Legs)

GrumpyX (Scene 3)

GiantX (Feet)

ShockerX (Scene 4)

ReverseRun2X (Far)

CynicalX (Scene 5)

SpeakNoEvilX (Gasp)

TheOrdinaryX (Scene 6)

LustforTeaX (Longing for Tea)

TeatimeJamboreeX (Scene 7)

CharonX (Vortex)

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The Bathtub Tightrope

I wanted to do something unexpected with my piece. The Tea Party features a scene where the sole performer stands upright in a bathtub, fully clothed, and lifts the water upwards before letting it fall. There is another scene that takes place in this bathtub, but focuses on the feet of the performer. These feet walk in a straight line, similar to the motions of a tightrope walker, which is inspiration for the title of this Tumblr post. I wanted to show the change in dimensional space, where I altered the camera position from wide to close up, thus allowing the viewer to focus on a specific body part or theme. I placed a translucent image over the top of this video, therefore hindering the ability to focus on one thing at once, but to demonstrate how one theme collides with another - distortion and spirituality. Drinking tea is seen as a pastime for some people, or something that allows them to feel relaxed and forget their problems. This is also reflected in the colour of the bath, white, which has a strong connection to spirituality. The walking from one side of the bath to another, especially since I filled the bath with water, represents the idea of walking on water, an action that is associated with Jesus Christ. I mention him within this Tumblr post and the piece overall, is due to perceptions of Christ being a spiritual healer, and that my consumption of tea provides spiritual healing properties. 

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This image shows a plan I used to help keep on track with my workload. They relate to the work now present on Evernote, before I knew the need for a Tumblr account. However, the Tumblr account is a more analytical upgrade to the material on Evernote, but demonstrates how I started off recording my progress, using Evernote as a diary, but upgrading the notes I wrote on there to Tumblr. I managed to complete a number of the tasks set on this schedule, but had to lay back on the others due to other modules having higher priority. As such, I had to accept that some things were not achievable in deadlines I created, therefore encouraging me to choose more realistic deadlines for future projects. However, I still managed to complete the tasks I set for myself, but not in the timeframe that I originally hoped for. 

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Challenges with other modules

As a fulltime student at De Montfort University, there is always the problem of having to balance the workload between each module. As such, this meant that I had less time to create the scenes I wanted for the piece, as modules containing more credits had greater priority. Problems with the camera also hindered my ability to produce work, as I had no experience with a camcorder of that type before the module took place, therefore having no way to create work except using my iPhone. It took five weeks to learn how to use the camcorder, thanks to a student who finally intervened, but I still missed out on valuable time to produce work for the Tea Party. Fortunately, I figured out how to use the camcorder, understanding the functions of each button. As a result, I was able to take some test footage and record potential candidates for the final project. I try to find the relationship between one module and another, to see how their materials relate with each other, enabling me to use the knowledge I collected in these modules and help develop work for future projects.

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This image shows the number of ways for practitioners and viewers to perceive performance. The real space is a dimension that occurs naturally, such as an office or the local park. It does not matter if one realistic space transitions into another, as these spaces are still realistic, but with the time being edited instead. If the company or solo practitioner decides to use unrealistic backgrounds, or the space cannot be identified as realistic, then this is an edited space. Time is a natural occurrence, showing how things change as the numbers grow, whether it be the number of ants in an ant farm or the aging of a person. However, it also has an effect within the world of performance, especially screen dance. If the piece demonstrates time passing in a natural manner, without the interference of technology, this piece takes place in real or durational time. On the other hand, if the opposite is true, where time appears manipulated by technology and therefore unrealistic, then this is edited time. Practitioners either use their body as a site or a tool. 

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This video focuses on movements that involve the hands, a crucial element to my screen dance piece “The Tea Party.” The movements demonstrate the struggle of remembering simple everyday tasks, for example certain dance movements or even sleeping! I got the idea of focusing on hand movements from this video, but revolved them around the idea of making a cup of tea instead. 

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Screen Dance Collective on Vimeo

The “Screen Dance Collective” on Vimeo is a channel dedicated to works classified as screen dance. Its admin is Hannah M. Weber, a freelance filmmaker and editor from the suburbs of Baltimore County, Maryland. There is an explanative description for the Vimeo account, as shown below:

This group aims to foster an environment where artists and viewers interested in Dance for Camera (a.k.a Screendance, Videodance, Cinedance, Dance on Camera) can share work, engage in conversation, peer review one another, and enjoy high quality dance films. This group will be carefully curated so as to maintain a high standard of quality.  Please note, we are not simply interested in any dance on the screen. Rather, this group will focus on works that take a synergistic approach, integrating both elements from film and dance creatively. (Weber, 2013)

As such, this channel allows current and upcoming “screen dancers” to discuss with one another, whether this be critiquing or recommending their work to potential consumers. This Vimeo account rewards the viewers who find it with “high quality dance films” and curated to “maintain a high standard of quality.” However, the channel takes little interest in “any dance on the screen” and requires that any videos published meet specific conditions. Here are the specific requirements for a screen dance video to appear on the collective.

The video must feature dance and film elements, consisting of original and interesting work. Material must not contain audition tapes, rehearsal videos and pornography, but the admin accepts music videos on a case-by-case basis. This is the same for documentaries. (Weber, 2013)   

https://vimeo.com/groups/screendancecollective

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The Nature Balancing Act

I created an initial screen dance piece called “Balance”, focusing on the relationship between humanity and the Earth. Two fellow students helped with the making of this film, one taking part in the performance with me, whilst the other recorded the whole piece. This was my first instance of creating a dance piece and I had little experience of dancing beforehand. As a contemporary performer with Asperger syndrome, dancing is one of many things I find difficult, due to delays in reaction time and near-stiff movements. However, the fellow student that took part in the performance process was an excellent dancer, who respected my difficulties and found alternate ways to create material that appeared interesting. The final product was a pseudo-screen dance piece, having potential to classify as a screen dance piece with more technical developments, but relied too much on the effects present in Final Cut Pro X. As such, the video had movements that focused on  specific themes, but appeared distorted and therefore unclear due to the effects applied. Since this was my first attempt to create a screen dance piece, there was always time to produce something better as a solo artist, because other students stuck with their friendship groups and had little interest in my presence. Fortunately, I had another idea of my own and proved how someone with little experience can create something just as good. 

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What is “screen dance”?

Screen dance is a form of dance practice that focuses on camera movements and other technology to replicate dance-like motions. However, the work needs to not "look like a dance”, but hold the same “kinaesthetic impact and meanings” (Greenfield, 1983)  of dance. A screen dance blog situated in Lebanon comments that screen dance is a “hybrid arts form that combines movement with the camera to stir the imagination and deliver a unique visual experience to explore motion and subject matter.” (Azrak and Bahhi, 2014) The camera works together with moving subjects to create a filmic dance piece through technology.